Rent Touchez Pas Au Grisbi (1954)

Ingots and Ingrates - Touchez Pas Au Grisbi review by CH

A heist has taken place. That is stock in trade for a film noir. What distinguishes Jacques Becker's Touchez pas au grisbi (1954) from others is that there is no rush to dispose of the goods, indeed the gold. The ingots can bide their time as smartly-dressed Monsieur Big (Jean Gabin) decides when to bow out quietly from an illicit trade, and enjoy a less anxious life.

Here are women (including Jeanne Moreau) as curved as the smart automobiles whose whitewall tyres ply the Paris streets from one night club to another. Trouble is that Gabin's accomplice, René Dary, has let slip sufficient to his girlfriend just as she is tiring of him; she does not lose time in telling others of the wealth to be had for a little rough-handed asking.

Such is the plot, and it does not lack for gunfire - and quite a climax -, but, as much as anything, here - on a second viewing - is a study in loyalty (it was, predictably, released here as Honour among Thieves). For all the action, this is a reflective story, taken from a novel by Albert Simonin (and there are indeed elements akin to the dur novels by his near-namesake). He wrote two more in this series. Both were filmed, but do not appear to have the réclame of this one, which is so good that one feels inspired to seek them out.

Crime Doesn’t Pay, But It Sure Dresses Well - Touchez Pas Au Grisbi review by griggs

Elegant suits, late-night snacks, and the slow grind of loyalty—that’s the pace on offer here. Touchez Pas au Grisbi sells itself as a gangster flick, but it’s really a melancholic meditation on ageing out of your profession, with guns holstered and regrets worn like cologne. Jean Gabin plays Max, a weary thief with a pension plan, trying to fade into comfortable obscurity. Trouble is, his best mate Riton can’t keep his mouth shut.

There’s something admirable in how little the film cares about thrills—it’s more supper club than shootout. Gabin smoulders, of course, but he’s a philosopher more than a felon, dispensing wisdom between glasses of wine. The script, however, leaves him underfed; you keep hoping it’ll give him something meatier than resignation and raised eyebrows.

Still, the mood—worn silk and closing-time weariness—has its charm. Not exactly gripping, but quietly assured. If this is the gangster’s farewell, it’s delivered with a shrug and a final bite of foie gras.

Nigh on perfect - Touchez Pas Au Grisbi review by NP

A nigh on perfect crime flick. Jean Gabin touches the sublime as an ageing gangster who just wants to go to bed. Also a clear influence on Scorsese's equally excellent The Irishman.